World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
W—F 12—6 PM
Sat 12—5 PM
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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World Food Books Gift Voucher
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Australian Art
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Fluxus
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Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
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Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1980, English
Softcover, 60 pages, 28 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Galerie Jurka / Amsterdam
$280.00 $160.00 - In stock -
Very scarce first edition of Robert Mapplethorpe's Black Males, published in 1980 by Galerie Jurka, Amsterdam. Dutch gallery owner Robert Jurka was instrumental in the early reception of Robert Mapplethorpe’s photography in Europe, exhibiting for the first time many of his (now) world-renowned photographs. Following an early Mapplethorpe monograph from 1979, Jurka also published the first Black Males catalogue as part of the homonymous exhibition he organized in 1980 at Galerie Jurka. With an introductory essay by Edmund White, this first 1980 edition remains the most sought after printing of this beautiful and controversial series by Mapplethorpe.
Robert Mapplethorpe (1946-1989) took his first photographs using a Polaroid camera. His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. Then he acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. During the early 1980s, Mapplethorpe’s photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities.
Good copy throughout with light wear. Note coffee marking to covers and previous owner's name penned into first blank page. Interior otherwise clean, tight and overall well preserved.
2010, English
Hardcover (dust jacket), 304 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Ecco Press / New York
$60.00 - Out of stock
First hardcover edition of Patti Smith's National Book Award-winning classic, Just Kids, published by Ecco Press in 2010.
It was the summer Coltrane died, the summer of love and riots, and the summer when a chance encounter in Brooklyn led two young people on a path of art, devotion, and initiation.
Patti Smith would evolve as a poet and performer, and Robert Mapplethorpe would direct his highly provocative style toward photography. Bound in innocence and enthusiasm, they traversed the city from Coney Island to Forty-Second Street, and eventually to the celebrated round table of Max's Kansas City, where the Andy Warhol contingent held court. In 1969, the pair set up camp at the Hotel Chelsea and soon entered a community of the famous and infamous, the influential artists of the day and the colorful fringe. It was a time of heightened awareness, when the worlds of poetry, rock and roll, art, and sexual politics were colliding and exploding. In this milieu, two kids made a pact to take care of each other. Scrappy, romantic, committed to create, and fueled by their mutual dreams and drives, they would prod and provide for one another during the hungry years.
Just Kids begins as a love story and ends as an elegy. It serves as a salute to New York City during the late sixties and seventies and to its rich and poor, its hustlers and hellions. A true fable, it is a portrait of two young artists' ascent, a prelude to fame.
Patti Smith is a writer, performer, and visual artist. She gained recognition in the 1970s for her revolutionary mergence of poetry and rock and was inducted into the Rock & Roll Hall of Fame in 2007. Her seminal album Horses, bearing Robert Mapplethorpe's renowned photograph, has been hailed as one of the top one hundred albums of all time. Her books include M Train, Witt, Babel, Woolgathering, The Coral Sea, and Auguries of Innocence.
Very Good copy in VG dust jacket with light general wear to extremities and block edges.
1995, English
Softcover, 368 pages, 17.8 x 234 cm
1st Edition, Out of print title / used / very good
Published by
The MIT Press / Massachusetts
$70.00 - Out of stock
First 1995 edition and printing of Douglas Crimp's classic, On The Museum's Ruins, published by MIT Press.
On the Museum's Ruins presents Douglas Crimp's criticism of contemporary art, its institutions, and its politics alongside photographic works by the artist Louise Lawler to create a collaborative project that is itself an example of postmodern practice at its most provocative. Crimp elaborates the new paradigm of postmodernism through analyses of art practices broadly conceived, not only the practices of artists—Robert Rauschenberg, Cindy Sherman, Marcel Broodthaers, Richard Serra, Sherrie Levine, and Robert Mapplethorpe—but those of critics and curators, of international exhibitions, and of new or refurbished museums such as the Staatsgalerie in Stuttgart and the Martin-Gropius-Bau in Berlin.
The essays:
Douglas Crimp is Fanny Knapp Allen Professor of Art History at the University of Rochester. He is the author of On the Museum’s Ruins and Melancholia and Moralism: Essays on AIDS and Queer Politics, both published by the MIT Press.
“Literate and provocative speculations about art, photography, postmodernism, homoeroticism, Rauchenberg and Mapplethorpe, museums and libraries.”
“Crimp's essays comprise one of the most interesting and incisive bodies of work on practices of contemporary art in relationships to art as institution.”
—Andreas Huyssen, Columbia University
1989, Japanese
Softcover, 115 pages, 18.2 x 25.6 cm
1st Edition, Out of print title / used / very good
Published by
Million Publishing / Tokyo
Taiyo Tosho / Japan
$90.00 - Out of stock
Rare and amazing 1989 special edition Japanese fetishwear catalogue showcasing clothing and paraphernalia — latex, rubber, leather, gag, underwear, footwear, heel and boot, tool... An incredibly stylish and gorgeous design throughout, with wonderful erotic photography "SCENES" shot by Masatoshi Osanai, featuring the talents of Hitomi Kudo, Junko Kanae, Sayoko Nakajima, Rinko Tachibana, Hana Inoue, Hidemi Hayakawa. Published by S&M Sniper's Million imprint and Taiyo Tosho, the photo collection is also interspersed with hypertexts to compliment the imagery — small articles covering themes of Biomechanoid Restraints, Industrial Baroque, Bondage Dolls, etc. and photo clippings of complimentary erotic photographers — Helmut Newton, Bob Carlos Clark, David Bailey, Robert Mapplethorpe, Joel-Peter Witkin, Nobuyoshi Araki, Kishin Shinoyama, plus art clippings — Christo, Minimal Art, Eric Satie, Arvo Pärt, etc... why you wonder? Possibly because it was designed by Ryuichi Sakamoto! Very sophisticated fetishism from Japan.
VG—NF copy, slight bowing.
1986, Japanese
Softcover, 276 pages, 29.7 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Camera Mainichi and The Mainichi Graphic / Japan
$120.00 $80.00 - Out of stock
First printing of NEW NUDE 3, published in Japan in 1985 as part of a unique and short-lived book series published by the mighty Camera Mainchi house, showcasing leading photographers and artists on the subject of the nude. Opening with illustrated essays by photo critic Kōtarō Iizawa and others, this lovely volume, printed in Japan, presents works generously and sympathetically presented in colour and black-and-white across various paper-stocks. Includes the work of Nobuyoshi Araki, Daido Moriyama, Masahisa Fukase, Keiichi Tahara, Noriaki Yokosuka, Irina Ionesco, Hennri Maccheroni, Keizo Kitajima, Takashi Ishii, Richard Cerf, Ayako Parks, Taku Aramasa Seiji Kurata, Jean-Jacques Dicker, Flip and Debra Schulke, Robert Mapplethorpe, Marie-Claire Montanari, Lee Friedlander, Jaques Schumacher, Joyce Tenneson, Herlinde Koelbl, and many others.
Very Good copy. Light wear, crease to one front cover bottom corner.
2024, English / French
Softcover, 296 pages, 13 x 19.6 cm
Published by
Éditions 1989 / Paris
$49.00 - In stock -
The first book devoted to the late African American writer and actress, Dorothy Dean, one of the few prominent African American women of New York City's bohemian heyday, close to Andy Warhol and Robert Mapplethorpe.
Edited by Anaïs Ngbanzo, this second release from Éditions 1989 features Dorothy Dean's unpublished writing and selected correspondence with Edie Sedgwick, Rene Ricard, and Taylor Mead, among other friends and artists. This volume also includes Dean's transcendent script of an unrealized film starring Factory actor, Ondine.
Lyrical, humorous, political, and brutally honest, Who Are You Dorothy Dean? is a tribute to one of the few prominent African American women of New York City's bohemian heyday.
Dorothy Dean (1932-1987) was an African American writer and actress. She entered the 1960s New York underground scene and quickly became one of its key, if overlooked, figures, starring in six of Andy Warhol's films and inspiring the likes of Robert Mapplethorpe and Robert Creeley. Presumably the first woman ever hired as fact-checker at The New Yorker, Dean held brief editorial and proofreading positions at publications such as Vogue before launching her very own bulletin of film reviews, the All-Lavender Cinema Courier, in 1976.
Texts by Dorothy Dean, Edie Sedgwick, Robert Creeley, Gerard Malanga, Rene Ricard, Taylor Mead, et al. Translated from the English (American) by Rachel Valinsky. Graphic design: Rick Myers.
1995, English / German
Softcover (staple-bound), 62 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Tom of Finland Foundation / Los Angeles
$140.00 - In stock -
Rare copy of Tom of Finland Exhibition 1994-95, published in 1995 by the Tom of Finland Foundation, Los Angeles, on the occasion of the retrospective exhibition held in 1994 and the Schwules Museum, Berlin, Germany. Profusely illustrated with many unseen works, as well as photographs and documents tracing the life and work of Touko Valio Laaksonen (1920—1991), best known by his pseudonym Tom of Finland, the "most influential creator of gay pornographic images"(—Joseph W. Slade). Every period accounted for, from Tom's early commercial work to his most hardcore gay erotica, his sketch-books, his prints to his very last work. An incredible insight into this prolific artist of enduring influence. Texts throughout in English and German by president of Tom of Finland Foundation Durk Dehner and German art critic Wolfgang Max Faust, amongst others, plus chronology,
“Sometimes the attraction of the uniform is so powerful in me that I get the feeling that I am making love to the clothes and the man inside is just there to hold them up and give them shape, sort of like an animated department store dummy.”
Very Good, well preserved copy with light bump top of spine, crease to bottom front cover.
1987, Japanese
Softcover, 168 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$80.00 - In stock -
Issue No.30 of the great SALE2 periodical from Tokyo Japan, founded in 1984 by Makoto Orui, who later became art director for Purple magazine in France and Rockin’on magazine in Japan. SALE2 was active for about 14 years during the 1980s—1990s, published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. With Orui's distinct design SALE2 developed an exclusive curated editorial set on ‘erotisism and its spiritual philosophy’, with each issue exploring different themes and features, heavy on fetishism and erotic art.
Issue No.30, the "Special Issue" features Hans Bellmer, Leonor Fini, Richard Cerf, Gilles Deleuze, Michel Foucault, Paul Wunderlich, Robert Maplethorpe, Andy Warhol, Man Ray, Lewis Carroll, John Willie, Bernard Montorgueil, Guido Crepax, Van Rod, Carlo, Betty Page, Tealdo, clippings from periodicals such as Amateur Bondage, Bondage Life, Bondage Fantasies, Bizarre Comix, Bizarre Classix, Bizarre Fotos, and much more...
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
Very Good copy with tanning to pages.
1988, Japanese
Softcover, 300 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Million Publishing / Tokyo
$70.00 - In stock -
November 1988 issue of S&M Sniper, the cutting-edge cult glossy fetish magazine published in Japan between 1979—2009 that, unlike previous SM magazines, didn't centre so much around professional kinbakushi, favouring instead the exploration of new innovations of fetish and underground sex culture and emphasising the work of the models, stylists, make-up artists, and fashions designers, as much as the writers or photographers. The "new wave" of SM counterculture, embedded in 1980s underground music, fashion and visual art culture in Japan. Explicitly and profusely illustrated, each issue came wrapped in the iconic hyper-stylized airbrushed front covers of artist Yosuke Onishi, veiling the core content of non-fiction realist degradation and an eclectic, expressive editorial of kinbaku and all manner of SM, and extreme fetish photoshoots, illustrations, comics, essays, diaries, reports, exhibitions, reviews, interviews, and included regular contributors such as SM archivist and noise musician Masami Akita (Merzbow), legendary SM writer and editor Dan Oniroku ("the most celebrated writer of popular SM novels in Japan"), features by legendary SM and seppuku performer, actress, and author Hiromi Saotome, features by contributing photographers Nobuyoshi Araki, Masaaki Toyoura, Kenichi Murata, Nobuhiko Ansai, Kinichi Tanaka, Domu Kitahara, sadistic BDSM trainer Shima Shikou, and regular writings by convicted murderer and cannibal Issei Sagawa!! Including his translations of Guido Crepax comics from Italian to Japanese. This was not a magazine like the others. Each issue is also brimming with amazing Japanese advertisements and classifieds for the latest bondage clubs, boutiques, dungeons, fashion, toys, video and publication catalogues, hook-ups, phone sex, and much more.
This issue includes Nobuyoshi Araki, Yosuke Onishi, Nobuhiko Ansai, Katsu Yoshida, Robert Mapplethorpe, Kinichi Tanaka, Masahito Tokuno, Aki Masatoshi, Hajime Tomokyo, controversial Japanese author Shōzō Numa (Yapoo, the Human Cattle), bondage master and legendary Kitan editor Akira Minomura, Erika Sakurazawa, Yukimasa Okumura, Yayoi Honda, all the usual and more... Not for the faint of heart.
Very Good copy.
2014 / 2022, English
Softcover, 336 pages, 15 x 23 cm
Published by
Bbooks Verlag / Germany
$60.00 - Out of stock
Cookie Mueller (1949-1989) was a firecracker, a cult figure, a wild child, a writer, a go-go dancer, a mother and a queer icon. A child of suburban 1950s Maryland, she made her name first as an actress in the films of John Waters, and then as an art critic and columnist, a writer of hilarious stories and a maven of New York's downtown art world. Edgewise, by Berlin-based actress and writer Chloé Griffin, tells the story of Cookie's life through an oral history composed of more than 80 interviews with the people who knew her, including John Waters, Mink Stole, Gary Indiana, Sharon Niesp, Max Mueller, Linda Yablonsky, Richard Hell, Amos Poe and Raymond Foye. The contributors take us from the late-1960s artist communes of Baltimore to 1970s Provincetown and New York, through 1980s Berlin and Positano. Along with the text, Edgewise includes artwork, unpublished photographs and archival material and photography by Philip-Lorca diCorcia, David Armstrong, Robert Mapplethorpe, and Peter Hujar.
1993, Japanese
Softcover, 300 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Million Publishing / Tokyo
$80.00 - Out of stock
March 1993 issue of S&M Sniper, the cutting-edge cult glossy fetish magazine published in Japan between 1979—2009 that, unlike previous SM magazines, didn't centre so much around professional kinbakushi, favouring instead the exploration of new innovations of fetish and underground sex culture and emphasising the work of the models, stylists, make-up artists, and fashions designers, as much as the writers or photographers. The "new wave" of SM counterculture, embedded in 1980s underground music, fashion and visual art culture in Japan. Explicitly and profusely illustrated, each issue came wrapped in the iconic hyper-stylized airbrushed front covers of artist Yosuke Onishi, veiling the core content of non-fiction realist degradation and an eclectic, expressive editorial of kinbaku and all manner of SM, and extreme fetish photoshoots, illustrations, comics, essays, diaries, reports, exhibitions, reviews, interviews, and included regular contributors such as SM archivist and noise musician Masami Akita (Merzbow), legendary SM writer and editor Dan Oniroku ("the most celebrated writer of popular SM novels in Japan"), features by legendary SM and seppuku performer, actress, and author Hiromi Saotome, features by contributing photographers Nobuyoshi Araki, Masaaki Toyoura, Kenichi Murata, Nobuhiko Ansai, Kinichi Tanaka, Domu Kitahara, sadistic BDSM trainer Shima Shikou, and regular writings by convicted murderer and cannibal Issei Sagawa!! Including his translations of Guido Crepax comics from Italian to Japanese. This was not a magazine like the others. Each issue is also brimming with amazing Japanese advertisements and classifieds for the latest bondage clubs, boutiques, dungeons, fashion, toys, video and publication catalogues, hook-ups, phone sex, and much more. This issue includes Nobuyoshi Araki, Kiyoshi Ikejiri, Yosuke Onishi, Domu Kitahara, Tadao Chigusa, Kenichi Yamakawa, Shima Shikou, Aki Ryo, Kinichi Tanaka, Wakao Takahashi, Chihiro Abe, Robert Mapplethorpe, Takashi Ishii, Hiroyuki Tanino, all the usual and more... Not for the faint of heart.
Very Good copy.
1989, Japanese
Softcover, 310 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Million Publishing / Tokyo
$80.00 - Out of stock
October 1989 issue of S&M Sniper, the cult glossy fetish magazine published in Japan between 1979 - 2009 that, unlike previous SM magazines, didn't centre so much around professional kinbakushi, favouring instead the exploration of new innovations of fetish and underground sex culture and emphasising the work of the models, stylists, make-up artists, and fashions designers, as much as the writers or photographers. The "new wave" of SM culture, embedded in 1980s underground music, fashion and visual art culture in Japan. Explicitly and profusely illustrated, issues are packed from cover-to-cover with all manner of SM and fetish photoshoots, illustrations, comics, essays, diaries, reports, exhibitions, reviews, interviews, and included regular contributors such as Masami Akita (Merzbow), Kazuo Kamimura, Domu Kitahara, Makoto Orui, Kinichi Tanaka, Nobuhiko Ansai, Masaaki Toyoura... Each issue is also brimming with amazing Japanese advertisements and classifieds for the latest bondage clubs, boutiques, fashion, toys, video and publication catalogues, hook-ups, phone sex, and much more. This issue includes Tadao Chigusa, Nobuyoshi Araki, Tsuguya Inoue, Joel Peter-Witkin, Robert Mapplethorpe, Wilhelm von Gloeden, Keizo Miyanishi, Sayoko Nakajima, all the usual and more... Not for the faint of heart.
Very Good copy.
1983, English
Softcover, 42 pages, 29 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Galerie Watari / Tokyo
$120.00 - Out of stock
Very scarce and beautiful Robert Mapplethorpe Japanese catalogue published on the occasion of his solo exhibition "Flowers" at Galerie Watari in Tokyo in 1983. Profusely illustrated throughout with a beautiful selection of Mapplethorpe's flower still-life photographs from 1981-82, followed by his photographs of Dennis Speight, Charles Bowman and Ron Simms, well known from his 1980 "Black Males" series, and "Marty and Veronica" from 1982. Includes English introduction by Sam Wagstaff, Mapplethorpe self-portrait and printed signature, and exhibition history. Seldom seen Mapplethorpe book, filed perfectly alongside the great Galerie Jurka catalogues.
Robert Mapplethorpe (1946-1989) took his first photographs using a Polaroid camera. His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. Then he acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. During the early 1980s, Mapplethorpe’s photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities.
Good copy with some light marking/tanning to covers, otherwise Very Good copy, tightly bound and clean through.
2018, English / Portuguese
Hardcover, 400 pages, 32 x 25 cm
Published by
Serralves Museum of Contemporary Art / Porto
$130.00 - Out of stock
This luxurious comprehensive catalogue, lavishly illustrated, brings together works from throughout the artist’s career, from early collages and Polaroids, to the images of flowers, nudes, sexuality and portraits that made him one of the most notable photographers of the last century.
Robert Mapplethorpe (1946-1989) took his first photographs using a Polaroid camera. His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. Then he acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. During the early 1980s, Mapplethorpe’s photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities.
Published on the occasion of the eponymous exhibition at the Serralves Museum of Contemporary Art, Porto, from September 20, 2018, to January 6, 2019.
Robert Mapplethorpe (1946-1989) took his first photographs using a Polaroid camera. His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. Then he acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. During the early 1980s, Mapplethorpe's photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities.
1989, English
Softcover, 134 pages, 21 x 27 cm
1st Edition, Out of print title / As New,
Published by
IMA / Brisbane
$80.00 - Out of stock
Institute of Modern Art 1975-1989 - A Documentary History, was edited by Bob Lingard, Sue Cramer in Brisbane in 1989, and takes an in-depth look at the history of a very important period of one of Australia's oldest contemporary art spaces. Through essays by Bob Lingard and Peter Anderson, exhibition photography, a full list of exhibitions, catalogues and bulletins, this publication retrospectively showcases the directorship years of Robert Jadin de Fronenteau, John Buckley, John Nixon, Barbara Campbell, Peter Cripps and Sue Cramer, exhibiting John Olsen, Robert MacPherson, Ian Hamilton, Sidney Nolan, John Baldessari, Peter Cripps, Gunter Christmann, David Hockney, Diane Arbus, Jenny Watson, Chuck Close, Joseph Kosuth, Paul Sharits, Mike Parr, Arthur Boyd, Robert Jacks, John Davis, Mario Merz, Peter Tyndall, Hilary Boscott, Imants Tillers, John Nixon, Elizabeth Gower, Janet Burchill, Tony Clark, Dale Frank, Henri Chopin, Scott Redford, Tim Johnson, Robert Mapplethorpe, Vivienne Shark Lewitt, Fiona McDonald, Fiona Hall, Joanna Flynn, Jan Nelson, Joanna Ritson, Robert Hunter, Stephen Roach,Dominique Gonzalez-Foerster, Lehan Ramsey, Hiram To, John Dunkley-Smith, Stieg Persson, Merilyn Fairskye, Linda Marrinon, Bill Henson, Fritz Rahman, Melinda Harper, Geoff Lowe, Lindy Lee, Eugene Carchesio, Diena Georgetti, Maria Kozic, Lyndal Jones, amongst many others!
"This publication documents the history of the Institute of Modern Art, Brisbane from its inception in 1975 until the present day (1989). In doing so, it provides a partial record, both visual and verbal, of the life of one particular institution and an insight into a fifteen year history of exhibition-making within contemporary art. There can be no doubt that “Contemporary Art Spaces” (previously institutions such as the IMA were known as “alternative spaces”) have a crucial and unique role in supporting and developing contemporary art and curatorial practices within Australia. As the photographs of exhibitions, and the essays in this publication show, the Institute has played a significant role over its fifteen years as a venue not only for the exhibition of art that is being made in Brisbane itself, but also that of artists working elsewhere in Australia and overseas. It is worth remembering too that the Institute is the second oldest of the Contemporary Art Spaces in Australia. With this in mind, the Institute’s archive, from which this publication has been drawn, becomes a valuable resource in the study of recent art. The photographs published here ofier a visual record of individual works by many contemporary artists, a number of which may not have been published elsewhere. It is hoped therefore, that this publication might fruitfully be regarded as a source book from which more detailed projects of research can be undertaken. It is impossible in one publication to cover all of the activities and personalities, ideas, debates and discussions that have made up the life of the gallery. Alongside the exhibition program, the Institute has generated forums, lectures, film screenings and publications as an important part of its activities..."
SUE CRAMER DIRECTOR, June 1989
1985, English
Softcover (staple-bound), 44 pages, 27 x 33 cm
1st Edition, Out of print title / used / good
Published by
Tension / South Yarra
$35.00 - Out of stock
Tension 6 (Jan / Feb 1985) features "Gilded Lillies : Photographs of Fashion '84" - a spread of Australian fashion runways shot by Ashley Evans and Andrea Paton, John Lydon / Public Image, Lisa Lyon (interviewed by Faye Maxwell with illustrations by Katsu and photography by Robert Mapplethorpe), David Sylvian, Vivienne Shark Lewitt, poet Gerard Malanga, "On Location In Love" by Ted Colless, reviews of Videodrome and Metropolis by Adrian Martin, architectural drawings, and much more.
TENSION (1983-1990) was one of the central "popular" culture arts periodicals to come out of Melbourne in the 1980s, emerging from the ashes of Virgin Press. Independently published and edited by critic Ashley Crawford, Tension magazine lasted for 25 bi-monthly issues dedicated to Art, Music, Fashion, Theatre, Film, Photography, across reviews, interviews, reports, critical essays and artist pages. Now an important document of culture in Australia, and especially Melbourne in the 1980s, issues featured the writing and contributions of Paul Taylor, McKenzie Wark, Mike Parr, John Nixon, Catharine Lumby, Philip Brophy, Adrian Martin, Ashley Crawford, Peter Tyndall, Jean Baudrillard, Timothy Leary, Gerard Malanga, Keith Haring, Gerald Murnane, and many more. In 1985 Crawford, with John Buckley, staged an exhibition issue of the magazine, 'Visual Tension', at ACCA featuring the work of Howard Arkley, Marianne Baillieu, Peter Booth, Paul Boston, Peter Cripps, Richard Dunn, Maria Kozic, John Lethbridge, Geoff Lowe, Linda Marrinon, John Matthews, John Nixon, Stieg Persson, Robert Rooney, Gareth Sansom, Vivienne Shark LeWitt, Imants Tillers, Peter Tyndall, Jenny Watson, John Young.
1988, English
Softcover (staple-bound), 44 pages, 23.5 x 33.5 cm
1st Edition, Out of print title / used / good
Published by
Tension / South Yarra
$30.00 - Out of stock
Tension 13 (Australian and International Arts : June 1988) features John Nixon (by Sue Cramer), Maria Kozic (by Adrian Martin), Jenny Watson (by Rose Lang), Robert Mapplethorpe (by Paul Taylor), Julian Schnabel (by Paul Taylor), "Masterpieces of Medical Photography", "Curatorial Strategies", exhibition reviews, and much more.
TENSION (1983-1990) was one of the central "popular" culture arts periodicals to come out of Melbourne in the 1980s, emerging from the ashes of Virgin Press. Independently published and edited by critic Ashley Crawford, Tension magazine lasted for 25 bi-monthly issues dedicated to Art, Music, Fashion, Theatre, Film, Photography, across reviews, interviews, reports, critical essays and artist pages. Now an important document of culture in Australia, and especially Melbourne in the 1980s, issues featured the writing and contributions of Paul Taylor, McKenzie Wark, Mike Parr, John Nixon, Catharine Lumby, Philip Brophy, Adrian Martin, Ashley Crawford, Peter Tyndall, Jean Baudrillard, Timothy Leary, Gerard Malanga, Keith Haring, Gerald Murnane, and many more. In 1985 Crawford, with John Buckley, staged an exhibition issue of the magazine, 'Visual Tension', at ACCA featuring the work of Howard Arkley, Marianne Baillieu, Peter Booth, Paul Boston, Peter Cripps, Richard Dunn, Maria Kozic, John Lethbridge, Geoff Lowe, Linda Marrinon, John Matthews, John Nixon, Stieg Persson, Robert Rooney, Gareth Sansom, Vivienne Shark LeWitt, Imants Tillers, Peter Tyndall, Jenny Watson, John Young.
1989, English
Softcover (french-folds), 160 pages, 34 x 25 cm
1st Edition, Out of print title / used / good
Published by
Terrazzo / Milan
$100.00 - Out of stock
TERRAZZO was a very special biannual publication on architecture and design, edited and published between 1988–1995 by Barbara Radice, a prominent Italian author, design critic and member of the Memphis Milano design group. In conjunction with Ettore Sottsass, Christoph Radl, Anna Wagner and Santi Caleca, Radice created a unique and thoughtful periodical that focused on contemporary works of design and architecture, within Italy and abroad, touching on a vast array of disciplines in each issue, including photography, literature, poetry, history, science, philosophy, art and anthropology.
TERRAZZO 2
Spring 1989
ANDREA BRANZI
Architecture in shadow
FRANK GEHRY
Detailing by Frank Gehry
photographs by Santi Caleca
PAUL LUBOWICKI SUSAN LANIER projects
FRANCESCO CLEMENTE
on architecture
ROBERT MAPPLETHORPE
glass
DESIGN FOR HEROES
TRAVEL NOTES
by Ettore Sottsass
on light
photographs by Ettore Sottsass
GREEK TEMPLES: THE POLYCHROMY
by Joseph Rykwert
FRAN LEBOWITZ ON ARCHITECTS
interview
PLANS (No. 2)
Islamic, the Middle Ages
1984, English
Softcover, 342 pages, 270 x 280 cm
1st Edition, Out of print title / used / average
Published by
U.M.I. Research Press / Michigan
$50.00 - Out of stock
Softcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
A Good copy throughout, with cover rubbing and corner bumping. Tightly bound and clean copy internally.
2018, English
Hardcover, 464 pages, 31.8 x 31.8 cm
Published by
Fraenkel Gallery - Editions Antoine De Beaupré / San Francisco
$135.00 - Out of stock
Art & Vinyl is an exhilarating new look into the history of the vinyl record as a medium for modern and contemporary visual art. This beautifully designed and printed publication is the first book to focus in-depth on works of art created specifically for an album, composer or musician.
With reproductions of more than 200 LPs from the mid-20th century to the present, Art & Vinyl traces the trajectory of how the record album has been considered by artists as material for a work of art. The book begins with Pablo Picasso’s 1949 depiction of the dove of peace, printed directly on an audio disc. Significantly, the recording was Paul Robeson’s Chante Pour La Paix (Singing for Peace). Art & Vinyl also includes works by artists as disparate and wide-ranging as Ed Ruscha, Marlene Dumas, Cy Twombly, Yoko Ono, Jean-Michel Basquiat, Barbara Kruger, Robert Rauschenberg, Sol LeWitt, Sophie Calle and Andy Warhol.
Highlights include Gerhard Richter’s extraordinary oil painting made directly on a recording of Glenn Gould’s Bach: The Goldberg Variations (1984), as well as Allan Kaprow’s LP How to Make a Happening (1966). Also featured are albums of original recordings by Joseph Beuys, Yves Klein, Jean Dubuffet, Christian Marclay and Wolfgang Tillmans, among others. Some of the better-known artists’ covers for rock, pop and jazz albums featured here are Jann Haworth and Peter Blake’s Sgt. Pepper’s Lonely Hearts Club Band; Jim Dine’s cover for The Best of Cream; Lee Friedlander’s portrait of Miles Davis for In a Silent Way; Warhol’s cover for Sticky Fingers and Robert Frank’s Exile on Main Street; Mapplethorpe’s classic Patti Smith portrait for Horses; Robert Longo’s cover for Glenn Branca’s The Ascension; Fischli/Weiss’s Liliput; and Alec Soth’s cover for Dolorean’s The Unfazed.
Art & Vinyl has been assembled over the course of nearly a decade by curator and collector Antoine de Beaupré, author of Total Records and founder of Librarie Galerie 213 in Paris.
1979, English
Softcover, 64 pages, 28 × 36 cm
1st Edition, Out of print title / used / good
Published by
Art Official Inc. / Toronto
$75.00 - Out of stock
FILE Megazine (published 1972–1989) was a quarterly, then irregularly published art and culture magazine, written, edited and published primarily by members of General Idea (AA Bronson, Felix Partz, Jorge Zontal).
The visual design and identity of FILE Megazine was a deliberate appropriation of LIFE Magazine. FILE's initial logo was the white block letters on red rectangle of the LIFE logo, with the letters re-arranged. This corresponded with the group's desire that the magazine be a “parasite within the world of magazine distribution”. The familiarity of the format would entice a broad range of unsuspecting readers outside the art- or mail-art worlds (including LIFE readers) to pick it up from newsstands. Initially the magazine served a dual purpose. It was a record and site of activity for the international mail/correspondence-art movement - the first mail-art project in magazine format. It was also the mouthpiece of General Idea, with editorials for each issue written by the group, elaborating on the group's core conceptual principles. The writing style of these editorials is noteworthy for its heavily ironic use of language, a parody of advertising copy, laced with double-entendres. Over the years the focus of FILE Megazine broadened to include the wider arts, culture and entertainment world, as General Idea's founders moved increasingly among the New York downtown circles of the 70s and 80s.
This "TRANSGRESSIONS" issue (edited by General Idea and Rodney Werden) includes Kathy Acker, Guy Hocquenghem, David Byrne, Jean Genet, Pier Paolo Pasolini, Colin Campbell, Francesco Clemente, The Clichettes, Robert Mapplethorpe, Martha and the Muffins, and others. Features the famous Nazi Milk Glass cover by General Idea.
General Idea was a collective of three Canadian artists, Felix Partz, Jorge Zontal and AA Bronson, who were active from 1967 to 1994. As pioneers of early conceptual and media-based art, their collaboration became a model for artist-initiated activities and continues to be a prominent influence on subsequent generations of artists. General Idea's work inhabited and subverted forms of popular and media culture, including boutiques, television talk shows, trade fair pavilions, mass media, beauty pageants and publishing (they published the highly acclaimed FILE magazine). From 1987 through 1994 their work addressed the AIDS crisis, creating numerous public works and making some of their most iconic works of art. After publishing FILE Megazine for two years and amassing a large collection of artists books and multiples, General Idea founded Art Metropole in 1974, a non-profit space dedicated to contemporary art in multiple format: artists books, multiples, video, audio and electronic media. Both Partz and Zontal died of AIDS in 1994. Bronson continues to work and exhibit as an independent artist, and was the director of Printed Matter, Inc in New York between 2006 and 2011. The General Idea Archive now resides at the Library of the National Gallery of Canada.
Note: this issue has a few photographs of male and female genitals hand censored (with black marker) in a feature by Jim Dawson. Quite likely by the international distributor or Japanese vendor who originally sold this title. A common practice in Japan for imported publications at the time.
Good copy throughout, general wear for age/size.
1973, English
Softcover (stapled), 24 pages, 23 x 18 cm
1st edition, Out of print title / used*,
Published by
The New York Cultural Center / New York
$160.00 - Out of stock
Incredibly scarce exhibition catalogue published in conjunction with show held March 20 - May 6, 1973 at The New York Cultural Center. Includes the work of Hannah Wilke, Sig Rennels, Gillian Bradshaw-Smith, Jackie Ferr, Françoise Grossen, Harmony Hammond, Anne Healy, Al Loving, Robert Mapplethorpe, Rosemary Mayer, Brenda Miller, Robert Morris, Claes Oldenburg, Patricia Oleszco, Robert Rauschenberg, David Secombe, Richard Serra, Alan Shields, William Soghor, Frank Lincoln Viner, Jackie Winsor, and Nina Yankowitz. Includes black & white illustrations throughout, exhibition checklist and selected artist biographies. Introduction by Mario Amaya.
Fantastic, very rarely seen catalogue.
1984, English
Hardcover (w. dust jacket), 342 pages, 270 x 280 cm
1st Edition, Out of print title / Used*,
Published by
U.M.I. Research Press / Michigan
$150.00 - Out of stock
First, hardcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
Very uncommon hardcover edition, with dust jacket.
1996, English
Softcover, 238 pages, 23 x 30.5 cm
Out of print title / used*,
Published by
Rizzoli / New York
$70.00 - Out of stock
"The influence of Surrealism on fashion and its ancillary arts lasted decades longer than the movement itself. This catalog, accompanying a 1987 exhibition at Fashion Institute of Technology, explores the extravagances of visual language as social and political comment, a revolution in perception."--The Library Journal.
"The love affair between fashion and Surrealism began in the Paris of the 1920s when Surrealist artists plundered fashion's imagery for their art, raising fashion beyond the level of mere style to an important expression of culture. This text reveals the extravagent and ingenious creations resulting from this collaboration. It ranges from the shocking Surrealist dresses of Schiaparelli and Dali, and photographic experiments with Surrealist techniques by Horst P. Horst, Cecil Beaton and George Hoyningen-Huene to the work of younger fashion designers, including Olivier Guillemin and Vivienne Westwood, who have all brought Surrealist imagery into clothing and accessories."
This bountiful, visually lavish volume, published to accompany a 1987 exhibition at Fashion Institute of Technology, features the garments, paintings, sculptures, illustrations, window displays, fashion advertisements, costume designs and photography of Man Ray, Cecil Beaton, Issey Miyake, Horst P. Horst, Cinzia Ruggeri, Vivienne Westwood, Thierry Mugler, Krizia, Giorgio De Chirico, Meret Oppenheim, Max Ernst, Donatella, Rene Magritte, Comme des Garcons, Enrico Donati, Elsa Schiaparelli, Salvador Dali, Marcel Rochas, Jaques Griffe, Adelle Lutz, Marina Killery, Dominique Lacoustille, Emme, Stephen Jones, Louise Bourbon, Bill Cunningham, Germaine Vittu, Eric Braagaard, Karl Lagerfeld, Candy Pratts Price, Serge Lutens, Antonio, Linda Fargo, Claude Montana, Georgina Godley, Olivier Guillemin, Yves Tanguy, Christian Lacroix, Valentine Hugo, Paul Colin, Francoise Lesage, Yves Saint Laurent, Jean Cocteau, Adam Kurtzman, Herbert Bayer, Mel Odom, Jean-Paul Gaultier, Alfa Castaldi, Leo Malet, Jorge Silvetti, Gabriella Giandelli, Givenchy, Marcel Jean, Jean-Charles de Castelbajac, Michael Roberts, Marcel Vertés, Bert Stern, John Galliano, Danuta Riyder, Paul Delvaux, Manolo Blahnik, Dorothea Tanning, Eileen Agar, Miguel Covarubias, Cristobal Balenciaga, Andre Masson, Leonor Fini, Roman Cieslewicz, Shoji Ueda, Louise Dahl-Wolfe, Bruce Weber, Robert Mapplethorpe, A. M. Cassandre, Peter Lindbergh, Claude Cahun, Jean Arp, and so many more.